BUXTEHUDE (c.1637-1707) Opera Omnia VI, Harpsichord Works II CD 1 Aria in C BuxWV 246 [13:20] Suite in e BuxWV 236 [7:49] Aria in a BuxWV 249 [4:52] Suite in F BuxWV 239 [4:42] Suite in a BuxWV deest [7:57] Canzona in d BuxWV 168 [3:45] Suite in a BuxWV 244 [8:09] Suite in C BuxWV 227 [7:03] Toccata in G BuxWV 165 [4:19] CD 2 Aria Rofilis in d BuxWV 248 [2:42] Suite in G BuxWV 240 [6:14] Suite in e BuxWV 237 [8:54] Canzona in C BuxWV 166 [4:03] Courante in d BuxWV Anh. [1:55] Suite in g BuxWV 241 [7:13] Suite in C BuxWV 229 [3:55]
rec. 2007, Lübeck, Germany. DDD CHALLENGE
CC72245 [62:02 + 35:02]
This is the sixth set in a series of what looks as though
it will eventually stretch to two dozen or so volumes. The
whole – on Challenge - will contain all the works of the
important north German-Danish composer and keyboard player,
Dieterich Buxtehude. Volume VI has two CDs of his harpsichord
If nothing else (and there is much else), the project
will throw brighter light on just how varied was Buxtehude’s
output – and how accomplished a composer he was. All the
more pity, incidentally, that not all of his music is extant.
Volume I contained a first selection of harpsichord pieces;
Volumes II and V vocal works while Volumes III and IV were
dedicated to the organ. So, the logic for listeners is slanted
firmly in the direction of collecting the entire series,
because volumes are being issued in what may appear somewhat
In terms of strength and variety of interpretation this,
of course, not only puts quite a weight on the director;
especially when they are also the chief soloist. It also
asks us to trust - in almost every respect - the musical
judgements of one performer who is also the originator and
fashioner of the project. Such concentration could be a liability.
Unless that figure at the centre of everything is Ton Koopman.
Fresh from a Bach cantata series which occupied him for ten
years and has turned out to be something of a triumph, Koopman
seems likely now to be spending as long – or longer – devoted
Devotion is the operative word. This is a labour of love.
But it has not a whiff of amateurish admiration. Rather,
the playing style, editing, supporting essays and indeed
the whole splendid presentation start from the premise that
Buxtehude is a very great composer and one whose greatness
has to be taken for granted, as it is with Bach and Handel.
And that we should thus let the music take us where it will.
In fact it takes us to some most interesting places… there
are pieces in the stylus phantasticus (flourishing,
improvisatory music); pieces of equal passion – but directed
towards precision in every note; French-style dance suites,
and works that could be described as almost experimental.
It’s likely that these compositions had an audience of amateur
and informal performers and performances: there is a simplicity
and reluctance to venture into remoter keys than C major,
D major and minor, E minor, F major, G major and minor, A
major and minor.
There is – of course – some overlap between pieces which
Buxtehude wrote for the harpsichord and those for the organ
without pedals, manualiter. Nor can we overlook the
fact that none of the manuscripts for Buxtehude’s harpsichord
music survives – we only have copies. Koopman took the decision
not to try and cram all that oeuvre onto three CDs so the
fourth here (CD 2 in this set) is but 35 minutes long.
No matter: playing modern instruments by Willem Kroesbergen,
Koopman has produced a feast. Not a sampler or dry recital
of curios. But music which you will want to listen to repeatedly
for the compositions’ profundity, liveliness, and their textures
- both gentle and aggressive. We have to thank Koopman as
well for the variety that he offers us so convincingly. His
interpretation of the Suite in
e BuxWV 236 (CD1 tr.2), for instance,
shows great contrasts of colour and temperament; not hurried
or peremptory, he nevertheless makes no apologies for leading
us through the movements, rather than asking us to take them
or leave them. This is a prudent approach that does the music
Koopman’s playing convinces, then, from the first note.
It’s sensitive, stylish, articulate and consistent in every
respect. There are other ongoing series (Julia Brown’s on
Naxos stands out; as does Vogel’s on MD&G). Other interpretations
certainly have their advantages. But Koopman has the lead
for the way in which his immersion in the material seems
to have conferred ample scope to breath, to have let the
music find its own depth and work as it was intended to… particularities
of tempi, nuances of phrasing and felicitous ornamentation
in the service of invention – not virtuosity.
At times the music is somewhat ‘dry’, seems more of an
exploration than a celebration – even the opening Aria
in C (CD1 tr.1) has a Handelian
predictability to it. Yet Koopman maintains and freshens
our interest in it by playing it as though with a small band
of avid listeners all hearing it for the first time. So this
is compelling playing of generally exciting and original
music and should be immediately added to the collection of
anyone with a love of the Baroque keyboard and/or the less
celebrated corners of Buxtehude.
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